In The Heart Of The Sea

Retelling of a harrowing real-life survival story



Ron Howard

Based on

book by Nathaniel Philbrick


Brian Grazer, Ron Howard, Will Ward, Joe Roth, Paula Weinstein

Production Companies

Warner Bros., Village Roadshow Pictures, RatPac-Dune Entertainment


Warner Bros.

Dneg VFX Supervisors

Jody Johnson, Sean Stranks

Dneg VFX Producer

Olly Money

Overall Stereo Supervisor

Chris Parks

Stereo Supervisor

Barry O'Brien

Stereo Producers

Valeria Andino, Franklin Mascarenhas

Release Date

11th December 2015

Director Howard, his actors, and indeed the entire salty sweep of the film are all aided tremendously by visual-effects supervisor Jody Johnson and his team’s spectacular combination of live action and flawless, awe-inspiring CGI creations, chief among them the great, white whale.Austin Chronicle


In the winter of 1820, the New England whaling ship Essex was assaulted by something no one could believe: a whale of mammoth size and will, and an almost human sense of vengeance. The real-life maritime disaster would inspire Herman Melville’s Moby-Dick. But that told only half the story. “Heart of the Sea” reveals the encounter’s harrowing aftermath, as the ship’s surviving crew is pushed to their limits and forced to do the unthinkable to stay alive. Braving storms, starvation, panic and despair, the men will call into question their deepest beliefs, from the value of their lives to the morality of their trade, as their captain searches for direction on the open sea and his first mate still seeks to bring the great whale down.


The water was very much a character in the film and the stereo team spent time crafting how the waves looked in stereo, putting in a huge amount of detail that wouldn’t necessarily always go into water shots. There are many significant sequences, such as the ‘squall’ sequence and the sequence in which ‘The Essex’ is destroyed that feature standout 3D moments.

Two recurring elements in the movie were lens flares and water droplets on the lens during stereo conversion. Normally these are played at screen plane or are very negative. In the film, stereo team pushed them into the scenes, varying the depth so that you get a feeling of them being there.





Los Angeles